I have often admired Carl Kapp’s displays on his window at his
Oxford Street store. I believe he is the master of drape and his fabric
weight and feel choice is always spot on. He proved that once more
during his spring–summer 2012–13 show.
His inspiration for this collection was
unabashedly the colours of the ’80s, as well as some of the shapes,
vastly improved. All the models were styled to look like Amélie
Poulain—she, of Le fabuleux destin—though I heard the collection
was a tribute of sorts to Linda Evangelista and Christy Turlington.
Carl’s South African roots can be sensed through his choice of riotous
bold colours—fuchsia, orange, green, and gold—but so beautifully
combined! Long dresses with extremely long trains doubled up and
held at the neck—such as they billowed as the model walked—were
probably my favourite items, but there were beautiful, superbly
tailored jackets over sexy but comfortable lounge trousers, masterful
pleating, and interesting sleeve and cowl treatments.
All in all,
a beautiful, feminine collection that any elegant woman, no matter
what age, could wear, and which could take you from elegant lunch
Akira presented an installation at the Box, with one predominantly
bridal section to the collection. Petals cut out of his delicate
fabrics were strewn all over the floor. His unique use of texture
could be appreciated in many of the items, especially as we know
that he creates some in house. There were various clusters of colour, but what stood out were various modern re-interpretations of traditional
Japanese kimonos and headpieces. The use of Imari-inspired prints,
amongst other Japanese floral inspirations, with some 1960s inspiration, were
also noticeable. The collection was extremely colourful, beautifully
combined and very feminine.
I am in awe of the pattern mastery of Bowie Wong. He presented
what looked to be a primarily bridal and ball collection, with the
predominant colours being white, black and gold. The cuts and shapes
were worthy of Marie Antoinette’s court, with some fantastically
ruffled and stiffened volute ruffles on gowns. There was heavy
texturing on some gowns, as well as capes and stoles made of feather
butterflies or ball beads.
The inspiration was apparently a forest
and all its creatures of legend, with textures and hues and spider-webby
magnificence. Expertly done, but having been to Sydney’s most prestigious
ball recently, I did not see anyone who dared wear something quite
so elaborate and flamboyant, which makes me think this collection
is firmly aimed at bridal and red carpet.
Viviana Pannell is the founder and designer for Basquesse, a Sydney, NSW-based label, and a correspondent for Lucire.